The following is a review of FYRE: The Greatest Party That Never Happened — Directed by Chris Smith.
Nowadays it’s tough to be informed about every tiny little thing social media cares about. When I’m not terrified about why an elderly star’s name is trending on Twitter, I don’t pay a lot of attention to what is trending on social media — something has to stand out, or my timeline has to tweet about it constantly, for me to really notice (unless it’s relevant to my interests, of course). Continue reading “REVIEW: FYRE: The Greatest Party That Never Happened (2019 – Documentary)”→
The following is a review of IO — Directed by Jonathan Helpert.
Netflix is starting to build itself a — let’s call it — ‘fascinating’ library of original films. The service is filled to the brim with poor-to-average comedies, many of which feature Adam Sandler and his friends, and yet Netflix has started to make a name for itself as a place where unconventional or unmarketable films from great, noteworthy filmmakers are given a global reach.
But, in between these two piles of films of varying success, a film like IO exists. IO has a small but recognizable cast, the film is made by an up-and-coming filmmaker, and it struggles with themes present in films that sci-fi aficionados adore. Continue reading “REVIEW: IO (2019)”→
The following is a review of The Last Laugh — Directed by Greg Pritkin
Greg Pritkin’s Netflix film, The Last Laugh, which is dedicated to the late filmmaker Paul Mazursky, follows Al Hart (played by Chevy Chase), an elderly man who used to be the manager of comedians, as he somewhat reluctantly agrees to stay at the retirement home ‘Palm Sunshine.’ At the retirement home, he meets his old client Buddy Green (played by Richard Dreyfuss), with whom it is decided that he must go on tour in an effort to stay alive and realize a dream. Continue reading “REVIEW: The Last Laugh (2019)”→
The following is a review of Lionheart — Directed by Genevieve Nnaji.
Lionheart is the first original film from Nigeria that Netflix has acquired, and it is also the directorial debut of the Nigerian actress Genevieve Nnaji, who also plays the lead role here. In Lionheart, Nnaji, who Oprah Winfrey apparently once referred to as the ‘Julia Roberts of Africa’ plays Adaeze, a well-dressed and seemingly wealthy partner in her family’s company ‘Lionheart.’ Continue reading “REVIEW: Lionheart (2019)”→
The New Golden Age of Television continued in 2018 with yet another great year of television. This must be reiterated year after year — yes, even in a year without Game of Thrones — 2018 continued that age, or trend, in which television is as effective as, or even more so than, cinema. For some, television of 2018 is defined best by the return of the increasingly confounding Westworld, and, for others like me, it is best defined by limited series that kept my attention far better than most long-running shows. Continue reading “Top Ten TV-Shows of 2018”→
The following is a short review of Black Mirror: Bandersnatch — an interactive film on Netflix.
Black Mirror as a series has become one of those anthology series events that I look forward to every time it pops up on Netflix. Black Mirror gives us decent-to-great science-fiction stories that don’t always seem far-fetched. But no Black Mirror episode has felt more like an event than its first interactive film — Bandersnatch — which was released on Netflix today. Continue reading “REVIEW: Black Mirror: Bandersnatch (2018)”→